Chapter 250: Ministry Of Education Meeting! National-level Strategy! Hiroshi Nohara’s Name Will Echo Throughout Neon!
On the morning of October 23rd, at 9 AM, in the top-floor conference room of the Ministry of Education building in Tokyo, sunlight streamed through the long windows, illuminating the documents on the dark brown conference table, making them gleam.
The participants were all core officials of the Ministry of Education. Well-dressed figures filled both sides of the long table, and seated in the main seat was Governor of Tokyo Metropolis, Ryuichi Koike.
As a key component of Governor Koike’s reformist faction, the Ministry of Education had always been crucial for him to promote the “Greater Tokyo Metropolitan Area” plan—from cultural integration to the consolidation of educational resources, every policy directly related to the cohesion of the metropolitan area.
At this moment, the conference room was silent, save for the rustling sound of the Ministry of Education’s Vice-Minister, Kosuke Morikawa, flipping through documents.
“Governor Koike, fellow colleagues,”
Kosuke Morikawa stood up, clutching a thick report, his tone serious, “I will now report on the recent integration progress of the Greater Tokyo Metropolitan Area. As of mid-October, we have completed three core tasks: First, the unified revision of textbooks for primary and secondary schools in Tokyo, Chiba, Gunma, and Saitama, with a new chapter on ‘Metropolitan Area Common Culture,’ covering traditional crafts, regional gourmet food, and other content. Second, the intercommunication of resources among libraries in the four prefectures, allowing readers to borrow books at any city with a single library card, with an interconnection rate currently reaching 89%. Third, the implementation of a cultural venue cooperation project, where the Tokyo National Museum and the Chiba Prefectural Museum of Art jointly launched a ‘Special Exhibition on Edo Culture,’ exceeding 150,000 visitors in its first month, a 40% increase compared to the same period last year.”
Ryuichi Koike tapped his fingers on the table, his gaze sweeping over the participants. “Mr. Morikawa, after the textbook unification, what has been the feedback from students and parents? I heard some parents in Gunma Prefecture are worried that their local soba noodle culture might be overshadowed by Tokyo’s urban culture. Is that true?”
Toshihide Yamada, the Section Chief of Education at the Ministry of Education, seated next to Kosuke Morikawa, immediately stood up, his tone respectful. “Replying to Governor Koike, we have indeed received such feedback. Gunma Prefecture received 23 letters from parents last week, 18 of which mentioned ‘wishing to retain the practical soba noodle making classes.’ We have jointly adjusted the curriculum with the Gunma Prefectural Board of Education, incorporating soba noodle making into ‘Regional Specialty Practical Classes,’ with two sessions per month. This not only preserves local culture but also aligns with the metropolitan area’s concept of ‘diverse coexistence.’ Currently, parental satisfaction has increased from the initial 62% to 87%.”
“Well done.”
Governor Koike nodded, a hint of praise in his eyes. “The integration of the metropolitan area is not about ‘assimilation,’ but about allowing the unique characteristics of each region to shine. Chiba’s fishing culture, Saitama’s baking crafts, Gunma’s soba noodles—these are all precious assets of Greater Tokyo, and they must not be lost.”
Kiyoshi Sato, the Section Chief of Culture at the Ministry of Education, continued his report. “Governor Koike, there is also a breakthrough in cultural exchange. We have promoted the linkage between Tokyo’s ‘Traditional Crafts Market’ and Chiba’s ‘Fishing Port Festival.’ In late October, the ‘Metropolitan Area Culture Festival’ will be held at Chiba Port, inviting artisans from the four prefectures to demonstrate their skills on-site. Currently, 86 artisans have registered, including Chiba’s tuna chefs, Saitama’s master bakers, and Gunma’s soba noodle artisans—all of whom have expressed a desire to let more people understand their local culture through this platform.”
“The artisans’ enthusiasm is high, which is a good thing.”
Governor Koike raised his hand, signaling Sato to sit down, his tone softening. “However, we must also be mindful not to let the culture festival become mere ‘formalism.’ We need to let tourists truly participate, for example, by learning to knead dough with a master baker, or experiencing net hauling with fishermen. This way, everyone can feel the warmth of the metropolitan area.”
Just as Kosuke Morikawa was about to continue reporting on the details of educational resource integration, Kentaro Suzuki, the Section Chief of Cultural Exchange at the Ministry of Education, suddenly raised his hand, his tone carrying a hint of excitement. “Governor Koike, fellow colleagues, there is something that might be worth our attention—the documentary 《Taste of Neon》, broadcast recently by Kanto Television, under the Tokyo Broadcasting System Holdings, has played an unexpectedly significant role in promoting cultural integration within the Greater Tokyo Metropolitan Area.”
This statement instantly captured everyone’s attention.
Kentaro Suzuki quickly flipped through the materials in his hand and continued, “This documentary is directed by Hiroshi Nohara of Kanto TV. It has aired two episodes so far. The first episode focuses on Chiba’s tuna fishery, and the second episode tells the story of Gunma’s soba noodle craft. The average nationwide ratings have exceeded 32.2%, and in the Kanto region, it reached 38.5%. We conducted sample surveys, and among viewers from the four prefectures, 76% stated that they ‘understand the culture of other cities better through the documentary,’ 68% of Tokyo viewers said they ‘want to go to Chiba on weekends to eat tuna and to Gunma to learn to knead soba noodles,’ and 52% of parents plan to take their children to experience life in the places mentioned in the documentary.”
“Oh? Is that so?” Governor Koike’s eyes lit up, and he leaned forward slightly. “I had heard that this documentary was very popular, but I didn’t expect it to be so helpful for the metropolitan area integration. Mr. Suzuki, please elaborate on how it specifically promotes cultural integration.”
Kentaro Suzuki opened his notebook, his tone becoming more serious. “For example, in the second episode, Kosuke Sato-san from a soba noodle shop in Gunma mentioned, ‘The texture of soba noodles depends on hand-kneading, just as relationships between people depend on mutual connection.’ Many viewers remembered this statement. Among the feedback we received, young people from Tokyo said, ‘I used to think Gunma was just a rural area, but after watching the program, I realized there are so many stories hidden within their soba noodles.’ Fishermen from Chiba also wrote to the television station, saying, ‘We want to invite Gunma’s soba noodle chefs to the fishing port to make tuna soba noodles together.’ This kind of spontaneous cultural interaction is more effective than ten promotional events we could organize.”
Kosuke Morikawa, Vice-Minister of Education, also added, “Governor Koike, we have also observed a phenomenon—the number of cross-city inquiries to the tourism bureaus of the four prefectures has recently surged. The Chiba Prefectural Tourism Bureau stated that they receive over 200 inquiry calls daily from Gunma and Saitama, all asking ‘how to get to Masayasu Nomizu-san’s fish shop.’ Travel agencies in Gunma Prefecture have even launched a route called ‘Tour Gunma Following 《The Taste》,’ with pre-orders already booked for next month. This model of ‘culture driving tourism, and tourism promoting integration’ is precisely what we aim to promote.”
Governor Koike’s lips curved upwards, and he gently tapped the tabletop. “Mr. Hiroshi Nohara certainly knows how to create compelling content. A single documentary that not only showcases gourmet food but also culture, and incidentally helps us promote metropolitan area integration—it’s far more effective than the Ministry of Education’s brochures.”
A ripple of light laughter spread through the conference room, and the participants nodded in agreement.
Toshihide Yamada, Section Chief of Education at the Ministry of Education, said with a smile, “Governor Koike is absolutely right. We previously produced a ‘Metropolitan Area Culture Handbook,’ printing 50,000 copies, but only distributed 20,000. Now that 《The Taste》 is airing, people are proactively learning about the cultures of the four prefectures without us needing to distribute handbooks. This is truly ‘the power of content.'”
“Since this documentary has had such excellent results,” Deputy Vice Minister of Education Kazuo Takahashi suddenly interjected, his tone suggesting a proposal, “perhaps we could consider promoting it nationwide, making it a core component of cultural education material for all of Japan? After all, the philosophy of ‘respecting labor and cherishing tradition’ conveyed in 《The Taste》 is something all Japanese people need, and it can also serve as an example for other metropolitan areas to learn from Greater Tokyo’s integration experience.”
As soon as this was said, there were immediate echoes of agreement in the conference room.
Kiyoshi Sato, Section Chief of Culture at the Ministry of Education, quickly responded, “Deputy Vice Minister Takahashi is absolutely correct! I read a film review in 《Asahi Shimbun》 yesterday, which called 《The Taste》 ‘the best humanistic documentary of the past decade in Japan.’ It not only showcases gourmet food but also tells the stories of ‘people’—the perseverance of fishermen, the dedication of artisans; these are all manifestations of the national spirit. If it can be broadcast in primary and secondary schools nationwide, allowing children to understand the cultures of different regions from a young age and fostering a sense of ‘pan-Japanese community,’ it would be far more effective than any lecturing.”
“There’s also the value of international dissemination,” added Toru Watanabe, Section Chief of International Exchange at the Ministry of Education. “Governor Koike, you have always emphasized ‘letting Japanese culture go global.’ 《The Taste》 is currently very popular in Kansai and Hokkaido. Yomiuri TV Osaka has applied for broadcasting rights, and television stations in Hokkaido are also in negotiations. If we translate it into English, Chinese, and Korean, and submit it to international documentary festivals, it can not only allow foreign audiences to understand Japan’s culinary culture but also showcase the achievements of our metropolitan area integration. This would be a ‘win-win’ situation.”
Governor Koike nodded frequently, the smile on his face deepening. “What you all say makes sense. A good work can not only resonate with domestic audiences but also serve as a bridge for cultural export. Hiroshi Nohara-kun has the vision and scope to produce such a film.” He paused, then looked at Kosuke Morikawa. “Mr. Morikawa, please follow up on this matter. First, contact Tokyo TV and Hiroshi Nohara-kun to confirm the nationwide broadcasting rights. Then, coordinate with the Ministry of Foreign Affairs to prepare for international exhibition. Regarding the expenses, funds will be allocated from the Cultural Promotion Fund; there is no need to worry about the budget.”
Kosuke Morikawa immediately nodded. “Yes, Governor Koike! I will contact Station Manager Nobuhiko Sakata of Tokyo TV this afternoon and strive to finalize the copyright matters next week.”
Mentioning Hiroshi Nohara, Governor Koike’s tone became somewhat nostalgic. “Speaking of which, Mr. Nohara is truly a blessing for Tokyo. From pioneering a new genre of urban legends with 《An Shizhi》, to promoting neighborhood interaction with 《Super Change Change Change》, to becoming a new benchmark for samurai films with 《Seven Samurai》, and now promoting cultural integration with 《The Taste of Neon》—each of his works has profound social significance and can be considered truly national-level productions.”
Toshihide Yamada, Section Chief of Education at the Ministry of Education, immediately chimed in. “Governor Koike is absolutely right! Our education department was discussing 《Doraemon》 just last week. This manga is now one of the favorite reads for primary school students. Many teachers have reported that after watching 《Doraemon》, children are more willing to share toys with their classmates and help others. We are planning to include 《Doraemon》 in the ‘Primary School Moral Education Supplementary Reading Materials’ to aid in nurturing children’s character.”
“Oh? 《Doraemon》 also has such an effect?”
Governor Koike seemed surprised, then smiled. “Mr. Nohara is truly amazing. Whether it’s animation, manga, television dramas, or documentaries, he can always capture the core of ‘human hearts.’ Using 《Doraemon》 as moral education material is a good idea. Mr. Yamada, please prepare a plan as soon as possible; I fully support it.”
Toshihide Yamada quickly bowed. “Thank you, Governor Koike! We will submit the plan to you for approval next week.”
Kiyoshi Sato, Section Chief of Culture at the Ministry of Education, also added, “And there’s 《Late-night Diner》. This television drama is very popular among the middle-aged and elderly group. Many viewers say that after watching 《Late-night Diner》, they are reminded of their families and are more willing to go home and have dinner with their parents on weekends. Our cultural department is planning to collaborate with Tokyo TV to launch a ‘Late-night Diner Themed Exhibition,’ showcasing the props and cuisine from the drama, allowing more people to experience ‘the warmth in home-style cooking.'”
Governor Koike leaned back in his chair, interlacing his fingers over his abdomen, his eyes filled with gratification. “Mr. Nohara’s works are never just ‘entertainment products’ but ‘warm cultural carriers.’ He uses his camera and brushstrokes to record the lives of ordinary people and convey positive values, which are more touching than any policy. In the future, the Ministry of Education should provide more support to such creators and produce more excellent works like these.”
The participants nodded one after another, and the atmosphere in the conference room was exceptionally lively.
Kosuke Morikawa, Vice-Minister of Education, looked at Governor Koike and said with firm conviction, “Please rest assured, Governor Koike. We will strengthen our cooperation with Tokyo TV and Shueisha to provide more resource support to Mr. Nohara. Simultaneously, we will also discover more promising young creators to make Japan’s cultural industry increasingly vibrant and inject more strength into the integration of Greater Tokyo Metropolitan Area, and even the cultural development of all of Japan.”
Governor Koike nodded, his gaze sweeping over the Tokyo cityscape outside the window—the distant Tokyo Tower gleamed in the sunlight, and the streets were bustling with traffic, a scene of prosperity.
He knew that the integration of the Greater Tokyo Metropolitan Area still had a long way to go, but with works like 《The Taste of Neon》, creators like Hiroshi Nohara, and a team like the Ministry of Education, this path would undoubtedly be walked more steadily and further.
“Alright,” Governor Koike stood up, his voice calm and powerful. “Today’s meeting concludes here. Mr. Morikawa, please expedite the nationwide promotion of 《The Taste of Neon》 and the incorporation of 《Doraemon》 as moral education material. The rest of you colleagues should also perform your duties and continue to do a good job with the integration of the metropolitan area. Our goal is to make the Greater Tokyo Metropolitan Area a model of ‘cultural co-prosperity and common prosperity for the people,’ so that everyone living here can feel a sense of belonging and happiness.”
“Yes!”
The participants responded in unison, rising from their seats with determined expressions.
Sunlight filtered through the window, casting a warm glow on everyone, and on the 《Taste of Neon》 ratings report on the table—the figure of 32.2% seemed to silently prove that the power of culture is enough to connect cities, warm hearts, and become a vital force driving the era forward.
…
The news of the Ministry of Education’s meeting spread like wildfire, reaching Tokyo Television within half a day.
At 2 PM on October 23rd, the top-floor conference room was already filled with core personnel. Station Manager Nobuhiko Sakata sat at the head of the table, with Yoshihiro Shimazu, the recently retired President of Tokyo TV who was fully preparing for his mayoral candidacy, on his left, and Director Toshihide Takada and Managing Director Asumi on his right.
As Hiroshi Nohara walked into the conference room, Yoshihiro Shimazu looked up at him, a clear smile in his voice. “Mr. Nohara, you’ve arrived at the perfect time. I’ve called everyone here today primarily to discuss my campaign plan for the Tokyo mayoral election, and you, sir, are a key figure in this plan.”
This statement drew the attention of everyone present to Hiroshi Nohara. Kouta Asano was the first to joke with a smile, “It seems Mr. Shimazu is going to borrow Mr. Nohara’s ‘easterly wind,’ after all, who in all of Japan doesn’t know that anything produced by Hiroshi Nohara is a guaranteed masterpiece?”
Yoshihiro Shimazu did not deny it and tapped the opinion poll report on the table. “Precisely. Since adopting Mr. Nohara’s ‘information cocoon’ strategy last month, pushing customized promotional content to different demographics, my support rate has risen from an initial 28% to 41%. Especially among the young demographic and traditional craft practitioners, the support rate has increased by 19% and 23% respectively.”
He picked up a data sheet and handed it to Nobuhiko Sakata, continuing, “Look, for office workers, we push short videos about the ‘Subsidy for returning to hometown to start a business’ policy, using clips of Ken Sato’s story from 《The Taste of Neon》. For housewives, we push the ‘Community Culture Festival’ plans, paired with family competition videos from 《Super Change Change Change》. For students, it’s ‘Traditional Culture Enters Campus’ events, using clips from 《Doraemon》 animation to drive traffic. The effect of such precise targeting is far more effective than our previous scattergun street speeches.”
Nobuhiko Sakata finished reading the data and looked up at Hiroshi Nohara, saying, “Mr. Nohara, your ‘information cocoon’ theory truly combines content and promotion to the extreme. I was initially worried that this method might seem contrived, but now I see that using familiar content as a medium makes it more easily accepted.”
Yoshihiro Shimazu then shifted the conversation, his tone becoming more serious. “What’s even more gratifying is that His Excellency Governor Koike has also taken notice of this strategy. His secretary called me yesterday, saying that His Excellency Governor Koike is very interested in the ‘information cocoon’ theory and asked when Mr. Nohara would be free for a meal to discuss this content dissemination model.”
Hiroshi Nohara bowed slightly upon hearing this. “It is my honor to receive recognition from Governor Koike. However, the ‘information cocoon’ is effective mainly because Mr. Shimazu’s campaign philosophy—’promoting the transformation of traditional industries and improving people’s livelihoods’—already aligns with public demand. I merely provided a communication tool.”
“Mr. Nohara is still so humble.”
Toshihide Takada put down his pen, his tone tinged with emotion. “When you first proposed this theory, I worried it might be too ahead of its time. Now, I realize I underestimated the influence of content on the public. You are paving the way for Mr. Shimazu with your own works, which is far more convincing than any campaign advertisement.”
Asumi also added, “Moreover, this method also avoids directly attacking opponents. Mayor Mikami Tanaka has recently been publicly accusing us of ‘using celebrity effects to solicit votes,’ but we are using content related to people’s livelihoods, so he has no basis for criticism.”
Yoshihiro Shimazu nodded with a smile. “This is Mr. Nohara’s brilliance. He knows that the public doesn’t want empty slogans, but tangible benefits they can feel. Just as 《The Taste of Neon》 became popular because it showed the lives of ordinary people, our promotion is effective because it shows people concrete policy benefits.”
While everyone was discussing the promotion strategy, Nobuhiko Sakata suddenly remembered the news from the Ministry of Education and cleared his throat. “By the way, there’s something else I need to tell everyone. We just received news from the Ministry of Education that His Excellency Governor Koike plans to make 《Taste of Neon》 and 《Doraemon》 core components of a ‘National Cultural Promotion Strategy’ and promote them nationwide.”
“National strategy?” Soji Ashikaga looked up in surprise. “This is unprecedented treatment; even previous national-level television dramas haven’t enjoyed this kind of attention.”
Nobuhiko Sakata nodded, his tone carrying a hint of pride. “That’s right. 《The Taste of Neon》 will be translated into multiple languages and submitted to international documentary festivals, and will also be broadcast in primary and secondary schools nationwide as ‘local cultural material.’ 《Doraemon》 will be incorporated into primary school moral education supplementary reading materials, and will also be jointly published with a publishing house as a ‘parent-child reading edition.’ His Excellency Governor Koike said that these two works, one promoting regional economic transformation and the other cultivating children’s character, are precisely what Japan needs most right now.”
Kei Tanaka immediately chimed in. “That’s wonderful! 《The Taste of Neon》 has already boosted tourism in Chiba and Gunma by 30%. If it’s promoted nationwide, perhaps more places with traditional crafts will come to life. I recently visited Saitama, and the owner of an old bakery there even asked me when 《The Taste of Neon》 would film their story.”
Kouta Asano also said with a smile, “The educational significance of 《Doraemon》 is indeed great. My son used to love snatching toys from his classmates, but after watching Nobita share his gadgets, he now willingly lends his manga to others. Teaching children lessons through animation is far more effective than a hundred lectures from parents.”
Yoshihiro Shimazu’s smile suddenly disappeared, and his tone became serious. “Actually, Governor Koike’s promotion of these two works has deeper considerations behind it—it’s a signal for ‘economic transformation’ from the higher-ups.”
He looked at everyone and slowly said, “Japan’s real estate bubble is now at a dangerous tipping point. An apartment of sixty square meters is being sold for one hundred million yen, and young people are burdened with decades of loans, while the real economy continues to shrink. The higher-ups have long recognized this problem but have not found the right time to propose controls. The cultural tourism industry driven by 《The Taste of Neon》 and the cultural industry fostered by 《Doraemon》 are precisely the ‘new economic directions’ that the higher-ups wish to prioritize and support.”
Someone immediately asked, “So, are we abandoning real estate? After all, many large corporations make money from real estate.”
Yoshihiro Shimazu sighed and shook his head. “It’s not that simple. The intention of the higher-ups is ‘control, not abandonment.’ For example, restricting the inflow of funds from speculative real estate groups, increasing the supply of affordable housing, and simultaneously guiding capital towards the real economy such as cultural tourism, culture, and manufacturing. Just as shown in 《The Taste of Neon》, a small soba noodle shop can not only support a family but also drive related industries like ingredient cultivation and tourism. This is a healthy economic model.”
Asumi frowned. “But the real estate industry involves too many vested interests. Controlling it will surely not be easy, right? Previously, Tokugawa Sato’s Kirin Group was still acquiring land everywhere to build luxury mansions.”
“That’s why works like 《The Taste of Neon》 are even more necessary to guide public opinion.”
Yoshihiro Shimazu looked at Hiroshi Nohara. “Let the public see that besides real estate speculation, there are many industries that can generate income and realize value; let young people know that returning to their hometowns to pursue traditional crafts is not necessarily worse than being a real estate agent in Tokyo. This is also why I attach such importance to collaborating with Mr. Nohara—your works can subtly change people’s perceptions, which is more powerful than any policy document.”
Everyone fell silent and nodded, the atmosphere in the conference room becoming somewhat somber.
Toshihide Takada said softly, “It seems economic transformation is an unstoppable trend. I previously thought real estate could hold on for a few more years, but now it appears the higher-ups are already preparing for the aftermath of the bubble burst.”
After a brief silence, Yoshihiro Shimazu turned to Hiroshi Nohara again, his tone sincere. “Mr. Nohara, for the upcoming campaign promotion, I would still like to ask for your advice. Mikami Tanaka is constantly attacking me, saying I’m ‘out of touch with the public’ and don’t understand ordinary people’s lives. What do you think we should do to respond?”
Hiroshi Nohara thought for a moment and then said, “Mr. Shimazu, you don’t actually need to deliberately respond to attacks. Instead, you can use ‘details of people’s livelihoods’ to strengthen your image. For example, we can film a series of short videos titled ‘A Day in the Life of a Mayoral Candidate.’ No need to lecture; just show you kneading dough at Kosuke Sato’s soba noodle shop in Gunma, hauling in nets with Masayasu Nomizu at the Chiba fishing port, and learning to make Sakuramochi at a Kyoto Japanese sweet shop.”
He picked up a pen and drew a simple storyboard on the paper. “In the first shot, you knead dough with Mr. Sato and hear him say, ‘Young people are willing to come back and learn to make soba noodles now.’ You reply, ‘What we need to do is provide more support to these young people.’ In the second shot, you help fishermen move tuna at the fishing port and discuss ‘marine conservation,’ naturally leading to the policy of ‘sustainable fisheries.’ In the third shot, you taste freshly made Yokan at a Japanese sweet shop and chat with the master craftsman about ‘the inheritance of traditional crafts,’ mentioning the plan for ‘artisan seniority subsidies.'”
Kouta Asano’s eyes lit up. “This is a great idea! Using characters from 《The Taste of Neon》 as carriers will be both natural and relatable, and it will make the audience feel that Mr. Shimazu is genuinely concerned about ordinary people’s lives, which is much better than standing on a stage shouting slogans.”
Soji Ashikaga also nodded. “Moreover, these videos can be pushed using the ‘information cocoon’ strategy. For traditional craft practitioners, we push the ‘artisan subsidy’ clips; for fishermen, the ‘marine conservation’ clips; for housewives, the ‘Japanese sweet culture festival’ clips—precise and effective.”
After listening, Yoshihiro Shimazu immediately picked up a pen to take notes, his tone excited. “Let’s do it according to Mr. Nohara’s plan! I’ll go to Gunma tomorrow to see Kosuke Sato, and the day after tomorrow to Chiba. We’ll aim to shoot this series of videos next week. By the way, Mr. Nohara, if you have time, could you help me control the camera work and pacing? After all, your cinematic language understands the preferences of young people better than us old-timers.”
Hiroshi Nohara nodded in agreement. “No problem. I can contact Mr. Sato tomorrow to give him a heads-up so he can prepare in advance. Additionally, we can add some background music clips from 《The Taste of Neon》 to the videos, which will help the audience resonate more quickly.”
Nobuhiko Sakata watched the two finalize the details and said with a smile, “It seems this campaign promotion is secured. Mr. Takada, your side needs to cooperate in ensuring the video distribution channels; Mr. Asumi, you will be responsible for coordinating broadcast slots at the television station, playing the videos at the end of 《World of the Strange》 and 《Super Change Change Change》, which will have better traffic-driving effects.”
Toshihide Takada and Asumi responded simultaneously. Toshihide Takada added, “I will contact the advertising department and ask them to edit the videos into three versions: 15 seconds, 30 seconds, and 60 seconds, and air them on subway advertisements, TV commercials, and large street screens, achieving full-channel coverage.”
Asumi also said, “I have already informed Kanto TV, and they will cooperate by re-broadcasting 《The Taste of Neon》 on local channels in Chiba and Gunma, while simultaneously airing Mr. Shimazu’s promotional videos. This will further consolidate local public support.”
Hiroshi Nohara suddenly remembered something and said, “By the way, Mr. Shimazu, Vice-Minister Kosuke Morikawa from the Ministry of Education might come to discuss the nationwide promotion copyright for 《The Taste of Neon》 next week. If you have time, you can attend together. Since Governor Koike is interested in the ‘information cocoon’ theory, perhaps you can take this opportunity to chat with him further about your campaign philosophy and try to gain more official support.”
Yoshihiro Shimazu’s eyes lit up. “This reminder is very important! I will have my secretary clear the time. If we can gain Governor Koike’s public support, it will be a tremendous boost for the campaign.”
By the time the meeting ended, it was nearly evening. The sunset cast a warm glow on everyone’s faces in the conference room through the floor-to-ceiling windows.
Yoshihiro Shimazu held Hiroshi Nohara’s hand and said earnestly, “Mr. Nohara, whether this campaign can be successful, whether I can win against Mikami Tanaka, depends entirely on you.”
Hiroshi Nohara gently shook his head. “Mr. Shimazu, the key to winning is that your philosophy resonates with the hearts of the people. I have only done what I should do, which is to convey value through content.”
Looking at Hiroshi Nohara’s steady demeanor, Nobuhiko Sakata suddenly sighed with emotion, “Sometimes I can’t believe Mr. Nohara is only 23 years old. This composure and foresight are far stronger than many politicians in their forties or fifties. Tokyo TV is truly fortunate to have someone like you.”
Hiroshi Nohara smiled and said no more. He knew that whether it was the promotion of 《The Taste of Neon》 or Yoshihiro Shimazu’s campaign promotion, the essence was to connect people and events, and people and policies through content. And what he needed to do was to continue capturing the warmth and strength in ordinary lives with his lens, making these strengths the small embers that propel the era forward.
…
Inside the office of the Executive Deputy Station Manager of Tokyo City Television, the atmosphere was so oppressive that one could wring water from it.
Kazuo Takahashi slammed the briefing on the Ministry of Education meeting onto the desk, scattering papers everywhere. He pointed at the words “《The Taste of Neon》 《Doraemon》 Incorporated into National Cultural Strategy” on the briefing and said, his voice trembling with anger, “National strategy? On what grounds? Hiroshi Nohara is just a third-class director at 23. His documentaries and manga, why should they be watched by primary and secondary school students all over Japan?”
The several middle managers in the office all lowered their heads, none daring to respond. Yamamoto Ryuji, the Head of the Production Department, secretly glanced at Kazuo Takahashi’s reddened face. His pager vibrated several times, but he dared not look—it was a message from a subordinate about preparations for the fourth episode of 《The Taste of Neon》, and bringing it up now would only be adding fuel to the fire.
“And Yoshihiro Shimazu!” Kazuo Takahashi became more agitated as he spoke, grabbing the coffee cup from the desk and smashing it onto the floor, ceramic fragments scattering everywhere. “He lost the mayoral election to Mikami Tanaka and hid in the ICU for three years, and now, thanks to Hiroshi Nohara’s ‘information cocoon’ strategy, his approval rating has risen so much! Our city station spent so much money hiring Shunsuke Kamiki to film variety shows, and the ratings barely reached 2%. Where is this disparity coming from?”
Shunsuke Kamiki happened to push the door open and, upon hearing this, dejectedly stepped forward. “Mr. Takahashi, it’s not that our variety shows are bad, it’s that Tokyo TV is too good at sensationalizing! The fishermen and artisans in 《The Taste of Neon》 are all faked emotions. How can our 《Shunsuke’s Tokyo Roaming》 with its internet-famous restaurant visits be less authentic? And 《Doraemon》 is just a manga for children, how can it be more educational than our station’s 《Idol Diary School Days》?”
Kazuo Takahashi glared at him, his tone even harsher. “Faked? Is the nationwide rating of 32.2% fake? Are the collective praises from Ministry of Education officials fake? Mr. Shunsuke, if you had even half of Hiroshi Nohara’s ability, our city station wouldn’t be in this predicament!”
Shunsuke Kamiki’s face turned pale from the scolding, but he dared not retort—he knew that Kazuo Takahashi was suppressing all his anger, and if he dared to talk back, he might become a scapegoat.
He clenched his fists, his fingernails digging deeply into his palms, but in his heart, he harbored intense hatred for Hiroshi Nohara.
If it weren’t for this guy, his variety shows wouldn’t have been rendered insignificant, and Tokyo City Television wouldn’t have lost so miserably in its competition with Tokyo TV.
Misaki Suzuki, the Section Chief of Promotion, hesitated for a long time before finally speaking softly. “Mr. Takahashi, the Ministry of Education also mentioned that they plan to translate 《The Taste of Neon》 into multiple languages and send it to international documentary festivals, possibly even applying for cultural export funds. Should we also submit a project? For example, edit 《Shunsuke’s Tokyo Roaming》 into short films and try submitting them to local film festivals in Kansai?”
“Try submitting what!” Kazuo Takahashi interrupted her, his tone filled with mockery. “They are sending works that represent Japanese culture, what should we send? Videos of internet-famous restaurant check-ins? Clips of Mr. Shunsuke showing off? Don’t make us a laughingstock!”
He walked to the window, looking at the lights of the Tokyo TV building in the distance, his eyes filled with unwillingness. “Our city station was personally approved for establishment by Mikami Tanaka. The purpose was to counter Tokyo TV’s influence. But now? They release one work, and it becomes a hit; we release one, and it flops. Last time, 《Shunsuke’s Tokyo Roaming》 and 《The Taste of Neon》 competed, with ratings of 1.9% versus 24.1%. Now their ratings have surpassed 32.2% and are about to become a national strategy, yet we don’t even have a single work that we can be proud of!”
Yamamoto Ryuji, the Head of the Production Department, said cautiously at this moment, “Mr. Takahashi, actually, we could also film similar documentaries. For instance, we could film Tokyo City’s time-honored shops, find some artisans to tell stories, and perhaps it could…”
“Similar?”
Kazuo Takahashi turned and glared at him, his tone dismissive. “Do you think filming a documentary is like filming a variety show? Finding a few artisans to stage a few scenes and it’ll be popular? Can you capture the fatigue of fishermen going out to sea at dawn, or the calluses on the hands of soba noodle chefs, [Truncated: Max tokens]
Ryuji Yamamoto lowered his head, feeling a bit unwilling inside—it wasn’t that they didn’t understand reality, but Kazuo Takahashi always emphasized “traffic first,” demanding that variety shows must have stars, conflict, and topics, giving them no opportunity to film real stories. But these words, he could only hide in his heart, not daring to say them.
Shunsuke Kamiki suddenly thought of something, leaned close to Kazuo Takahashi, and said in a sinister tone, “Mr. Takahashi, it’s not like we have no options. In Hiroshi Nohara’s purpleTaste of Neon》, doesn’t Kosuke Sato from Gunma have a son who quit his job in Tokyo and returned home? We could send some people to inquire if his son truly intends to inherit the soba noodle shop, or if he’s just pretending for the documentary. If we can find some evidence of ‘faking,’ perhaps we can cause purpleTaste of Neon》’s reputation to collapse!”
Kazuo Takahashi’s eyes lit up, then dimmed again: “Do you think the people at Tokyo TV are fools? Since they dared to film it, they must have verified all the details. Besides, the whole of Neon is praising 《 Taste of Neon 》 right now. If we dare to spread rumors, we might be cursed by the public, and even Mikami Tanaka-kami-san wouldn’t be able to protect us then.”
He slumped into the chair, his tone full of helplessness: “We’re tied hand and foot now. We know Tokyo TV is expanding its influence step by step, but we can’t do anything. They have geniuses like Hiroshi Nohara, support from high-level figures like Nobuhiko Sakata and Yoshihiro Shimazu, and resource allocation from the Ministry of Education. What do we have? Only a limited budget, stars who only know how to show off, and directors who only know how to make terrible variety shows.”
The office fell silent, with only the ticking of the clock on the wall.
Misaki Suzuki looked at the coffee cup shards on the floor and said softly, “Mr. Takahashi, perhaps we can think outside the box. Since we can’t compete on cultural depth, we can compete on entertainment value. For example, by inviting more idol stars to do variety shows and organize events like ‘Idols Experience Traditional Crafts,’ it might attract young viewers.”
Kazuo Takahashi sighed and waved his hand: “It’s useless. Young people nowadays are moved by the real stories in 《Taste of Neon》; they’d rather watch fishermen go out to sea or artisans kneading dough than see idols faking an experience of a craft. We’ve already lost at the starting line. Unless a second Hiroshi Nohara appears, it’s impossible to surpass Tokyo TV.”
He picked up the briefing from the table, his finger jabbing hard at the name “Hiroshi Nohara,” his tone full of jealousy: “This guy is simply the nemesis of our City Stage. From “An Shizhi” to “Seven Samurai,” and now “Taste of Neon,” every work can accurately hit the public’s needs. How come we can’t find such a talent?”
The night gradually descended, and the atmosphere in the office remained heavy.
Kazuo Takahashi stood up, walked to the window, and looked at the night view of Tokyo City, his tone full of unwillingness: “Notify everyone, we will hold an all-hands meeting tomorrow to re-discuss the upcoming program plan. We cannot just admit defeat like this. Even if we can’t compete with national strategies, we must preserve the face of our City Stage.”
Several middle managers quickly agreed and turned to leave the office.
Shunsuke Kamiki walked at the end, and as he looked back at Kazuo Takahashi’s dejected silhouette, a sense of helplessness suddenly welled up within him—he knew that no matter how many meetings were held or how many plans were made, as long as Hiroshi Nohara was at Tokyo TV, their City TV would forever be overshadowed by Tokyo TV.
Stepping out of the City Stage building, Shunsuke Kamiki saw that the front page of the Asahi Shimbun in the roadside kiosk was still reporting on the success of “Taste of Neon,” with Hiroshi Nohara on the cover, wearing a simple shirt, his gaze steady, a faint smile on his lips. Shunsuke Kamiki gritted his teeth, turned, and quickly left—he dared not look again, nor did he wish to think about it, because he knew he could never become someone like Hiroshi Nohara, and Tokyo City Stage could never surpass Tokyo TV.
And at this time, inside the Tokyo TV building, Hiroshi Nohara was discussing the filming plans for the fourth episode and subsequent episodes of “Taste of Neon” with Asumi.
Managing Director Asumi looked at the shooting outline in his hand and said with a smile, “Hiroshi-kun, the Ministry of Education has confirmed that after the third episode is broadcast, the nationwide school broadcasting plan will be officially launched. At that time, your work will influence a generation of young people, which is an unprecedented achievement.”
Hiroshi Nohara smiled, his tone still calm: “The most important thing is to let more people understand traditional crafts and pay attention to the lives of ordinary people. As for achievement, that’s just an add-on.”
The night view outside was brilliant, and the lights of the Tokyo TV building were exceptionally bright.
Hiroshi Nohara knew that the jealousy and anger of Tokyo City TV could not affect his progress at all.
What he wants to do is continue to use his lens to record the beauty in ordinary life, letting more people feel reality and warmth, and this is his original intention as a creator.
